Torquato Tasso

Torquato Tasso

Born
11 March 1544
Sorrento, Kingdom of Naples
Died
25 April 1595 (aged 51)
Rome, Papal States
Occupation Poet
Genres Epic poetry, lyric poetry

Influence

- Torquato Tasso (11 March 1544 25 April 1595) was an Italian poet of the
16th century, best known for his poem La Gerusalemme liberata (Jerusalem
Delivered, 1580), u kojem opisuje borbe izmeu krana i muslimana za
vrijeme Prvog krstakog pohoda i opsade Jerusalema;
- Bolovao je od mentalne bolesti i umro je nekoliko dana prije nego to ga je
papa trebao proglasiti kraljem pjesnika;
- Do poetka XIX stoljea bio je jedan od najitanijih evropskih pjesnika;
Biography
Early life
- Roen je u Sorrentu, otac Bernardo Tasso, plemi i pjesnik;
- Otac je bio optuen za pobunu i razbatinjen; sa majkom i sestrom odlazi
ivjeti u Napulju; tamo se i obrazuje kod jezuita i vrlo brzo postaje poznat po
svome talentu;
- Tasso odrasta u knjievnom ozraju oca pjesnika i njegovih kritiara;
- Na studijama prava u Padovi svu panju posveuje filozofiji i poeziji;
- Krajem 1562. objavljuje poemu Rinaldo, ispjevanu u kombinaciji Vergilija i
romantike; postaje ve tada slavan;


Castello degli Estensi, Ferrara.

France and Ferrara
- poslije Rinalda iznio je svoje poglede na epiku u Discourses on the Art of
Poetry, za ta je dobio posebne pohvale od filozofa i kritiara; moda je
ovakav ulazak u knjievnost, sa naglaenim stavom o umjetnosti, bio pogrean,
jer budui autor Jerusalema e svojim pravilima guiti u sebi impusle i
nagone;
- godine izmeu 1565. i 1570. bile su najsretnije u Tassovom ivotu, unato
ranoj oevoj smrti; uivao je svu slavu i ugled;
- prve dvije zbirke od petstotinjak pjesama bile su posvee Lucreziji Bendidio
and Lauri Peperara; sestre Lucrezia and Leonora d'Este, starije neudate dame,
uzele su ga pod svoju zatitu;
- najvanije godine u Tassovom ivotu su one kada objavljuje djelo Aminta
1573. i zavretak Jerusalema 1574;
- Aminta je pastoralna drama jednsotavne radnje i lirskog arma; pojavila se u
trenutku kada je muzika postala glavnom umjetnou u Italiji; svojom
sladunjavom melodijom i melanholijom Aminta je odraavala duh svoga
vremena; njen utjecaj u operi osjeti se u dolazeim stoljeima;

The Gerusalemme Liberata
- Osloboeni Jerusalim Gerusalemme Liberata zauzima vano mjesto u istoriji
evropske knjievnosti;
- Junak Jerusalema bio je Godfrey od Bouillona, voa Prvog krstakog pohoda;
vrhunac epa je in osvajanja svetog grada;
- Zavrio ga je u tridesetprvoj godini ivota i to je bilo njegovo najvee djelo,
glavno ostvarenje;
- Razaslao je rukopis eminentnim piscima i kritiarima i oni su ga zasuli
triavim primjedbama;
- Kao i u Rinaldu on je elio da obogati italijanski epski stil uvanjem strogog
jedinstva prie i naglaene poetinosti; uzeo je Vergilija kao model, Prvi
krstaki pohod kao temu, unio ar vjere u svog junaka Godfreya, ali on je
prirodno bio naklonjen romantici;
- Unato genijalnosti koju je posjedovao ipak je pokazivao manje genijalne
spontanosti;
- Godfrey, mix pobonog Eneje/Aeneas and Tridentine nije bio pravi junak
Jerusalema;
- Armida, Clorinda, Erminia ove lijepe paganske ene tako su dirljive u svojoj
boli, romantine u svojim avanturama, njene u svojim emocijama, da veu
itateljevu panju, dok se bitke vjerski obredi mogu preskoiti;
- Tasso je otkrio poeziju osjeaja a ne sentimentalnosti; u tome je prava
vrijednost Jerusalema; to je bila nova stvar u XVI stoljeu to je bilo u
suglasju sa rastuim osjeajem za ene i rastom popularnosti muzike;
- Ovaj osjeaj, rafiniran, ogrezao u melanholiji, graciozan, patetino dirljiv, die
kroz epizode Jerusalema, zajedno sa zavodljivim junakinjama ija su imena
bila vrlo esto izgovarana irom Verope;
Difficult relationships in the Court of Ferrara


Alfonso II d'Este, portrait by Girolamo da Carpi.

In the madhouse of St. Anna
- njegovo psihiko stanje se pogorava, postaje poput luaka i biva smjeten u
ludnicu St. Anna, gdje ostaje 7 godina 1579-1586);


"Tasso in the Hospital of St Anna at Ferrara" by Eugne Delacroix. Tasso spent 1579-1586 in
the madhouse of St Anne.
- Dobio je dosta udoban apartman, u kome je mogao primati posjete; pisao je
pisma uglednim osobama; pisma su postala dragocjeni izvor informacija, ne
samo o njegovom stanju tih godina, ve i o njegovom temperamentu;
- Neki kritiari su u pismima vidjeli licemjerno ljubljenje ruku koje su ga ibale;
ali i ovjeka naruenog mentalnog zdravlja;
Meanwhile, he occupied his uneasy leisure with copious compositions. The mass of his prose
dialogues on philosophical and ethical themes, which is very considerable, belong to the years
of imprisonment in St. Anna.
Except for occasional odes or sonnetssome written at request and only rhetorically
interesting, a few inspired by his keen sense of suffering and therefore poignanthe
neglected poetry. But everything which fell from his pen during this period was carefully
preserved by the Italians, who, while they regarded him as a lunatic, somewhat illogically
scrambled for the very offscourings of his wit.
Nor can it be said that society was wrong. Tasso had proved himself an impracticable human
being; but he remained a man of genius, the most interesting personality in Italy.
Long ago his papers had been sequestered. In the year 1580, he heard that part of the
Gerusalemme was being published without his permission and without his corrections. The
following year, the whole poem was given to the world, and in the following six months
seven editions issued from the press.
The prisoner of St. Anna had no control over his editors; and from the masterpiece which
placed him on the level of Petrarch and Ariosto he never derived one penny of pecuniary
profit. A rival poet at the court of Ferrara undertook to revise and edit his lyrics in 1582. This
was Battista Guarini; and Tasso, in his cell, had to allow odes and sonnets, poems of personal
feeling, occasional pieces of compliment, to be collected and emended, without lifting a voice
in the matter.
A few years later, in 1585, two Florentine pedants of the Crusca Academy declared war
against the Gerusalemme. They loaded it with insults, which seem to those who read their
pamphlets now mere parodies of criticism. Yet Tasso felt bound to reply; and he did so with a
moderation and urbanity which prove him to have been not only in full possession of his
reasoning faculties, but a gentleman of noble manners also. The man, like Hamlet, was
distraught through ill-accommodation to his circumstances and his age; brain-sick he was
undoubtedly; and this is the Duke of Ferrara's justification for the treatment he endured. In the
prison he bore himself pathetically, peevishly, but never ignobly. He showed a singular
indifference to the fate of his great poem, a rare magnanimity in dealing with its detractors.
His own personal distress, that terrible malaise of imperfect insanity, absorbed him.
What remained over, untouched by the malady, unoppressed by his consciousness thereof,
displayed a sweet and gravely-toned humanity. The oddest thing about his life in prison is that
he was always trying to place his two nephews, the sons of his sister Cornelia, in court-
service. One of them he attached to Guglielmo I, Duke of Mantua, the other to Ottavio
Farnese, Duke of Parma.
After all his father's and his own lessons of life, he had not learned that the court was to be
shunned like Circe by an honest man. In estimating Duke Alfonso's share of blame, this wilful
idealization of the court by Tasso must be taken into account. That man is not a tyrant's victim
who moves heaven and earth to place his sister's sons with tyrants.
Late years


Sorrent.Torquato Tasso monument
In 1586 Tasso left St. Anna at the solicitation of Vincenzo Gonzaga, Prince of Mantua. He
followed his young deliverer to the city by the Mincio, basked awhile in liberty and courtly
pleasures, enjoyed a splendid reception from his paternal town of Bergamo, and produced a
meritorious tragedy called Torrismondo. But only a few months had passed when he grew
discontented. Vincenzo Gonzaga, succeeding to his father's dukedom of Mantua, had scanty
leisure to bestow upon the poet. Tasso felt neglected. In the autumn of 1587 he journeyed
through Bologna and Loreto to Rome, and taking up his quarters there with an old friend,
Scipione Gonzaga, now Patriarch of Jerusalem. Next year he wandered off to Naples, where
he wrote a dull poem on Monte Oliveto. In 1589 he returned to Rome, and took up his
quarters again with the patriarch of Jerusalem. The servants found him insufferable, and
turned him out of doors. He fell ill, and went to a hospital. The patriarch in 1590 again
received him. But Tasso's restless spirit drove him forth to Florence. The Florentines said,
"Actum est de eo." Rome once more, then Mantua, then Florence, then Rome, then Naples,
then Rome, then Naplessuch is the weary record of the years 1590-94. He endured a
veritable Odyssey of malady, indigence and misfortune. To Tasso everything came amiss. He
had the palaces of princes, cardinals, patriarchs, nay popes, always open to him. Yet he could
rest in none. Gradually, in spite of all veneration for the sacer vates, he made himself the
laughingstock and bore of Italy.
His health grew ever feebler and his genius dimmer. In 1592, he gave to the public a revised
version of the Gerusalemme. It was called the Gerusalemme Conquistata. All that made the
poem of his early manhood charming he rigidly erased. The versification was degraded; the
heavier elements of the plot underwent a dull rhetorical development. During the same year a
prosaic composition in Italian blank verse, called Le Sette Giornate, saw the light. Nobody
reads it now. It is only mentioned as one of Tasso's dotagesa dreary amplification of the
first chapter of Genesis.
It is singular that just in these years, when mental disorder, physical weakness, and decay of
inspiration seemed dooming Tasso to oblivion, his old age was cheered with brighter rays of
hope. Pope Clement VIII ascended the papal chair in 1592. He and his nephew, Cardinal
Aldobrandini of San Giorgio, determined to befriend the poet. In 1594, they invited him to
Rome. There he was to receive the crown of laurels, as Petrarch had been crowned, on the
Capitol.
Worn out with illness, Tasso reached Rome in November. The ceremony of his coronation
was deferred because Cardinal Aldobrandini had fallen ill, but the pope assigned him a
pension; and, under the pressure of pontifical remonstrance, Prince Avellino, who held
Tasso's maternal estate, agreed to discharge a portion of his claims by payment of a yearly
rent-charge.
At no time since Tasso left St. Anna had the heavens apparently so smiled upon him.
Capitolian honors and money were now at his disposal. Yet fortune came too late. Before he
wore the crown of poet laureate, or received his pensions, he ascended to the convent of
Sant'Onofrio, on a stormy 1 April 1595. Seeing a cardinal's coach toil up the steep
Trasteverine Hill, the monks came to the door to greet it. From the carriage stepped Tasso and
told the prior he had come to die with him.
He died in Sant'Onofrio in April 1595. He was just past fifty-one; and the last twenty years of
his existence had been practically and artistically ineffectual.
At the age of thirty-one the Gerusalemme, was accomplished. The world too was already
ringing with the music of Aminta. More than this Tasso had naught to give to literature but
those succeeding years of derangement, exile, imprisonment, poverty and hope deferred
endear the man to readers. Elegiac and querulous as he must always appear, Tasso was loved
better in the Romantic period because he suffered through nearly a quarter of a century of
slow decline and unexplained misfortune.
Other works
Rime (Rhymes), nearly two thousand lyrics in nine books, were written between 1567 and
1593. Influenced by Petrarca's Canzoniere, they develop a research for musicality and are rich
of delicate images and subtle sentiments.
Galealto re di Norvegia, (1573-4) an unfinished tragedy, which later was finished with a new
title: Re Torrismondo (1587). It is influenced by Sophocles's and Seneca's tragedies, and tells
the story of princess Alvida of Norway, who is forcibly married off to the Goth king
Torrismondo, when she is devoted to her childhood friend, king Germondo of Sweden.
Dialoghi (Dialogues), written between 1578 and 1594. These 28 texts deal with various
issues, from moral ones (love, virtue, nobility) to more mundane ones (masks, play, courtly
style, beauty). Sometimes Tasso touches major themes of his time: for instance, religion vs.
intellectual freedom; Christianity vs. Islam at Lepanto.
Discorsi del poema eroico, published in 1594. This is the main text to understand Tasso's
poetics and was probably written during the long years or composing and revising
Gerusalemme Liberata
The disease


The Convent of Sant'Onofrio.
The disease Tasso began to suffer from is now believed to be schizophrenia. Legends describe
him wandering the streets of Rome half mad, convinced that he was being persecuted. At
times he was imprisoned for his own safety by the Duke in St. Anne's lunatic asylum. Though
he was never fully cured, he was able to function and resumed his writing. The Gerusalemme
was published by his friends Angelo Ingegneri and Febo Bonna, mostly with the consent of
the poet.
Tasso and other artists
Tasso's lyric poetry may have had some influence in late-Renaissance France on
Desportes and Ronsard (whom Tasso met in Paris). It almost certainly influenced a
number of English Elizabethans, including Sir Philip Sidney, Abraham Fraunce, and
Samuel Daniel.
Claudio Monteverdi composed Combattimento di Tancredi e Clorinda upon the text
of Gerusalemme Liberata, canto XII. He also composed music over some of Tasso's
Rime, particularly madrigals.
Giaches de Wert and Carlo Gesualdo da Venosa put into music many texts from
Tasso's Rime and Gerusalemme.
The German writer Johann Wolfgang von Goethe wrote a play Torquato Tasso in
1790, which explores the struggles of the artist. He also composed a cantata text,
"Rinaldo", inspired by Canto Sixteen of "Jerusalem Delivered," which was later set to
music by Johannes Brahms.
Giacomo Leopardi wrote Dialogo di Torquato Tasso e del suo Genio familiare
(Operette morali, 1824), a prose about the long stay in St. Anna. The main theme is a
comparison between pain and boredom, expressed in a dialogue between Tasso and a
"Genius", or ghost, said to be visiting him in his loneliness.
Among the numerous operas based on "Jerusalem Delivered" are works by Lully,
Alessandro Scarlatti, Vivaldi, Handel, Haydn, Salieri, Cherubini, Christoph Willibald
Gluck, Rossini, and Dvok. There is even an experimental modern opera on the
theme, by Judith Weir, transposing the scene into contemporary Iraq.
Both Edmund Spenser and John Milton were greatly influenced by Tasso's work.
Lord Byron's poem "The Lament of Tasso" narrates Tasso's spell in St. Anna's
hospital.
The Italian composer Gaetano Donizetti wrote an opera on the subject of Torquato
Tasso (1833) and incorporated some of the poet's writing into the libretto.
Franz Liszt composed a symphonic poem, Tasso, Lamento e Trionfo in
commemoration of the centenary of Goethe's play. The sombre first half represents his
anguish in the asylum, and the glorious second half charts the acknowledgement he
and his poetry achieved after he departed from the hospital.
Artists inspired by both "Jerusalem Delivered" and "Aminta" have been legion and
include Tintoretto, the Carracci, Guercino, Pietro da Cortona, Domenichino, Cigoli,
Van Dyck, Poussin, Claude Lorrain, Tiepolo, Boucher, Fragonard, Johann Friedrich
Overbeck, Hayez, and Delacroix.














Zatvoren je u samostan, ali bjei i putuje po Italiji. 1575. godine dovrava svoje
najpoznatije djelo "Osloboeni Jeruzalem" koje je pisao gotovo deset godina i
po kojem je uven. U njemu je prikazao mentalitet renesansnog ovjeka,
artistiki nemir i ljubav za batinu helenskog svijeta. Autor je velikog broja
lirskih pjesama, brojnih svjetla i tame, dobra i zla, poroka i vrlina. Uvrijeena je
legenda o Tassovoj naklonosti prema pjesnikinji Cvijeti Zuzorid, kojoj su
navodno posvedena tri soneta i pet madrigala. Napisao je i pastirsku igru
Aminta, 1573. Bududi da su mu jo za ivota nastale brojne legende vezane uz
njegov ivot i duevnu poremedenost, Johann Wolfgang Goethe je 1790.
napisao dramu Torquato Tasso.

- Ved za ivota nastala je legenda o pjesniku progonjenom zbog ljubavi
prema vojvodinoj sestri Eleonori, a grob mu je ubrzo postao stjecitem
pjesnikih hodoada.
- Tasso je bio ponajprije rtvom zahtjeva da se umjetnost podvrgne
cenzuri crkve i utilitarnoj poetici; no bio je dobrovoljna rtva, jer je i sam
htio zadovoljiti moralistike cenzore, iako svjestan da u sebi nosi dvojstvo
hedonistike batine renesanse i stroge protureformacijske religioznosti.
- U oko 2000 lirskih pjesama platio je dug vremenu i drutvenim obvezama
(dri se da je 3 soneta i 5 madrigala napisao po narudbi za Dubrovkinju
Cvijetu Zuzorid), ali je uz hvaliteljske sastave (pa i unutar njih) izrazio i
intimne tjeskobe i nemire, i nadasve muzikalne ugoaje sanjarskih i
nodnih krajolika.
- Uzorna je pastirska igra u stihovima Aminta (1573), gdje u atmosferi sna i
ljepote velia slobodni hedonizam pastira, mladenaku ljubav Aminte i
Silvije, i gdje iznimna muzikalnost izraza potiskuje prigodne motive.
Drama je imala velik odjek u knjievnostima baroka i Arkadije (prijevod D.
Zlatarida tiskan je u Veneciji prije izvornika). U 26 Dijaloga dao je model
elegantne, precizne i autobiografski zanimljive proze na teme koje su
zanimale dvorsku i u?enu publiku.
- Po uzoru na Seneku i Sofokla napisao je tragediju Kralj Torrismondo
(1586); tu osjedaj krivnje zbog incesta sa sestrom uokviruje prikladna
evokacija nordijskog krajolika.
- Glavna je Tassova preokupacija bio epski spjev po uzoru na Homera i
Vergilija. Htio je dati Italiji modernu epopeju utemeljenu na vjeri i
krdanskom jedinstvu to ga je aktualizirala borba s islamom.
- Tako nastaje najbolje njegovo djelo ep OSLOBOENI JERUZALEM (
Gerusalemme liberala), u 20 pjevanja u oktavama, na temu prvoga
kriarskog rata.
- Posluio se literarnim i povijesnim izvorima, ali je poetsko teite ipak na
intimnim dramama autobiografske naravi, primjerice na kontrastu strasti
i dunosti (Armida i Rinaldo), na motivu ljubavi i smrti koju vitez zadaje
voljenoj (Tancredi i Clorinda) ili skrovitih, neuslianih osjedaja (Erminia),
na doivljaju krajolika i nodi, bijega u pastoralnu idilu, na opisima
dvoboja, bitaka, nodnih okraja.
- Spjev je imao golema odjeka u Evropi i Americi, pa i u nas, od baroka do
romantizma (Gundulid, Mauranid). Tassov lik nadahnuo je, izmeu
ostalih, Goethea i Byrona, a prizori iz njegovih djela mnoge slikare.
Jedan je od najnesretnijih pjesnika u talijanskoj literaturi
i otac mu je bio pjesnik
studirao je najprije pravo pa filozofiju i govornitvo
i on je ivio neko vrijeme na dvoru ferarskih velikaa DERSTA i tu je
napisao svoju uspjelu pastirsku dramu AMINTA
prije toga ve? se pro?uo kra?im spjevom RINALDO
nesporazumi oko njegovog djela OSLOBO?ENI JERUZALEM koje je
dovrio 1575. i neke ljubavne neprilike dovele su Tassa do tamnice i
bolesti
Savjetovano mu je da najljepe dijelove svoga epa, zbog profanosti
(prostosti, vulgarnosti) u njima s obzirom na uzvienu temu koju
obra?uju, ispusti ili tako promijeni da ih mogu ?itati i najpoboniji ?itatelji
I knjievni kriti?ari tog vremena unijeli su u pjesnikovu duu ve?u
smutnju opre?nim sudovima o njegovom djelu.
Tasso je bolestan, pomra?ena uma lutao pjeice Italijom, poderan i
jadan
Zbog neura?unljivog ispada na ferarskom dvoru za vrijeme vojvodina
vjen?anja bude smjeten u tamnicu, gdje je odleao 7 godina
to je vrijeme INKVIZICIJE=U 13 st. stvoreni su istrani i kazneni organi
katoli?ke crkve za borbu protiv nazora i protiv osoba neprijateljskih i
neugodnih toj crkvi. Inkvizicija je bila rasprostranjena u Zapadnoj Evropi,
osobito u romanskim zemljama i djelovala je putem tajne pijunae,
zvjerskih mu?enja i sl. Ukinuta je tek u 19. st.

OSLOBOENI JERUZALEM
- ep u 20 pjevanja ispjevan u strofama od 8 jedanaesteraca
- kompozicija- u djelu se isprepledu povijesni dogaaji sa ljubavnim
zapletima i fantastinim dogaajima (aneli, arobnjaci,..). Voa
kriarskog pohoda bio je vojvoda Goffredo.
- tema: oslobaanje Isusova groba;
- tema je povijesna gdje se pojavljuje mnotvo mitskih motiva, osobnih
trauma zbog neuzvradene ljubavi, mnotva opisa pejzaa, pjesnikovih
osjedaja (osamljenost, neshvadenost, razoaranje i prolaznost)
- mnogi detalji iz epa su dio pieve biografije

Osloboeni Jeruzalem je najpoznatije djelo Torquata Tassa, nastalo
1575. godine. To je barokni ep u 20 pjevanja. Jedna je osnovna radnja sa
brojnim epizodama. Strofa: stanca ili ottava rima (osam stihova), neki u
epu prepoznaju maniristike elemente. Tassov uzor je Vergilije (izmjena
stvarnih i fantastinih dogaaja). Tema je Prvi kriarski rat kojom Tasso
naglaava potrebu ujedinjenja krdana. Ep prikazuje borbu krdanskih
vitezova oko Jeruzalema s predstavnicima muslimanskog svijeta.
Sukobljene strane predstavljaju dva svijeta: krdanski i muslimanski, a
simbol su za sukob dobra i zla. Napadnut od inkvizicije da je u religijozno-
historijsku tematiku unio previe ljubavi i magije, prerauje poslije svoj
spjev i pie Osvojeni Jeruzalem (1587.-1592.), koji mnogo zaostaje za
prvotnom verzijom.

Fabula i likovi
Pria, utemeljena na povijesno-religioznoj temi, obogadena je
elementima fantastike. U tijek borbe upledu se nebeske i paklene sile.
Paklene sile upuduju Armidu, istonjaku arobnicu, u krdanski tabor s
namjerom da zavede krdanske vitezove i zavadi ih. Armida u tome
uspijeva. Meu krdanskim vitezovima dolazi do krvavog obrauna.
Glavni junak Rinaldo ubija norvekog kraljevida i naputa tabor. Krdani
ne mogu osvojiti Jeruzalem jer ih u tome spreavaju arolije. Poboni
Gotffred u snu saznaje da je Bog odredio Rinalda kao spasitelja kriarske
vojske. Meutim, Rinalda je zarobljen draim arobnice Armide koja ga je
arobnom glazbom i mirisima namamila u amac u kojem je zaspao. Ona
boravi s njim na Sretnim otocima koji se nalaze nasred jedva pristupna
mora. Po Gotfredovu nareenju dva viteza oslobaaju Rinalda i on se
vrada u tabor. Svladavi sve zapreke, oslobaaju grad. Za vrijeme
muslimanskog poraza Rinaldo uhvati Armidu, pokrsti je i oeni se njome.

OSLOBOENI JERUZALEM
1. U ovom djelu opisana je prva kriarska vojna, tj. borbe krdanskih
vitezova oko Jerusalima;
2. U tim se borbama istiu na krdanskoj strani RINALDO i TANKRED, a na
muslimanskoj ARGANT i lijepa ratnica KLORINDA
3. U tok same borbe upledu se i nebeske i paklene sile
4. Paklene sile upute i ARMIDU, divnu istonjaku arobnicu, u krdanski
tabor da bi u njemu zavela i posvadila junake
5. Zbog nje doe i do krvi meu krdanskim junacima
6. Tako glavni junak spjeva Rinaldo, ubije u svai norvekog kraljevida
7. Poslije tog sukoba uvrijeen naputa tabor
8. Njegovo odsustvo meu krdanskim borcima vrlo je muno po njih
9. Zbog arolija krdani iz ume, koja se nalazi u blizini Jeruzalema, ne
mogu posjedi drvede kako bi od njega napravili sprave potrebne za napad
na sam grad
10. Krdanima je bilo najgore onda kada im Argant i Klorinda u tekom
okraju spale sprave
11. Voi krstaa, pobonom GOFREDU bilo je u snu saopdeno da je
Rinaldo odreen od Boga kao spasitelj kriarske vojske.
12. Meutim, on se nalazi u vrstoj vlasti arobnice Armide, koja se
htijudi ga ubiti, u njega zaljubila, dok je spavao u amcu u koji ga je
domamila arobnom muzikom i opojnim mirisima
13. Sad boravi s njim na Sretnim otocima, koji se nalaze nasred jedva
pristupana mora.
14. Po Gofredovu nareenju, dva viteza, svladavi kojekakve zamke,
oslobode zarobljenog Rinalda
15. Po njegovom dolasku u tabor ini ume budu savladane pa sprave za
konanu navalu mogu se napraviti
16. Za vrijeme poraza muslimana Rinaldo uhvati Armidu i-kako je bio
zaljubljen u nju, kao i ona u njega-pokrsti je i oeni se njome
17. Ovim svojim djelom Tasso spada meu najvede pjesnike svjetske
knjievnosti
18. Tasso je iskreno zabrinut za svaki pokret svojih junaka
19. Videdi oko sebe pokvarenost i korupciju svih vrsta, on je htio da u
svom spjevu, po sadraju tako dalekom njegovim danima, prikazati itav
niz likova u kojih je pojam postojanosti, portvovnosti, vjernosti i
samozataje iznad svega.